This act of dehistoricizing art is a contrast to what dominated polish art scene in early nineties. Critical art was focusing on the study of entanglement entity, the experience of corporal punishment, on the problems of another, or the ubiquity of power in Michel Foucault’s understanding (Foucault, 2000). He is inscribing nature of history between freedom and control, whic...
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...ybrid, mutant, bound intimately with life and death, with time and eternity, enveloped in a Mobius strip of the collective and the individual,...“ (Nora, 1989:20). So I understand through this, that process of lieux de memoire, the fragments of history are assigned into the postmemory of the author and the viewer. As Ewa Domańska is pointing into individual memory in collective memory of symbols, icons, cultural and historical toposes, which were replicated and preserved in the social conciousness, through it;s constant reproduction in encyclopedias, handbooks, newspapers, films, etc. Exactly through those icons, our society sees past, they are becoming memory markers, and where they are recalled through our memory they straight away relate to solid events (Domańska, 2006). Thus Spiegelman’s father personal memories are no longer personal, they become collective.
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